Q: I want to start out with having Alan give a brief description of his background before he became affiliated with the Agency or its predecessor agencies and institutions, and then we'll take it from there. In the meantime, as I feel that I want to prompt him on particular subjects, I will intervene with a question. Otherwise, I will let him say pretty much what he wants to talk about. So Alan, please begin with a brief bio sketch of your background, and then take it from there.
Biosketch: Alan Fisher
FISHER: I was born in Brooklyn in 1913. I graduated from high school, Brooklyn Technical High School, was going to be a chemical engineer, and changed my mind. I started to work for the New York World Telegram as a freelance photographer, and then after a year of that, was given a job as sports photographer. In 1934 I started with them. Then I became special features and color photographer and general
all-around photographer on their staff until 1942. Then I left them because I had a very good job offer to join the staff of the newspaper PM. I was on the staff for two years and did an awful lot of coverage of Army camps. I spent almost one year covering Army camps.
Then I got a call from Washington from Alexander Murphy, who had been with the AP and had been our photo assignment editor on PM. Al asked me whether I'd go to South America for a six-month contract to work for Nelson Rockefeller's office. At that time, Nelson was the Coordinator of Inter-American Affairs. It was equivalent to modern-day Assistant Secretary for Latin America, but there was no such title at that time.
So I said I didn't know whether I could get a leave of absence, and he said, "Sure, we can arrange it with Ralph Ingersoll," the publisher. They arranged it, and I arranged then to go to South America. The interesting thing was that I was given just general ideas on what was wanted, and then I went to Washington on my way to Miami to pick up the plane to Brazil, which was my starting point. I said, "Any final instructions? Specifically what do you want?"
Fisher Goes to South America as Photographer
for Rockefeller's IIA Program
It was an assignment of a lifetime. Al Murphy said, "Just take anything that looks good to you." And those were my instructions for Latin America. I spent two years instead of two months in Latin America on a contract for Nelson Rockefeller, and I photographed Brazil, basically the war effort, industry, prominent people, politicians, and so forth.
I went over to Chile after a year and a half, was sent over to Chile to cover the break in relations with the Axis, and after three months there, I was fortunate in getting there in time to cover the break. Florence came with me as my interpreter. She spoke Spanish, I didn't. Then she went back to Brazil, and Vice President Wallace came down to visit Latin America. I was assigned by Washington to cover him for the combined American press. I spent a month with him, then went back to Chile for a month, and then back to Brazil.
By that time, I had been reclassified to be 1A, and I got a call from Washington. I said, "I'll be right back."
Q: 1A meaning in the draft.
FISHER: Yes. I had been 2B, essential war worker. The day I got back to the States, they decided that men over 29 were not wanted anymore, particularly married men, and I was automatically reclassified to 2B again.
I was given a choice then of going back to Brazil or going over as a war correspondent with the Brazilian Expeditionary Force.
Q: At this point, let me ask a couple of questions to clarify exactly what you were doing with the Nelson Rockefeller program, the IIA program. Were you doing entirely photographic work in connection with things Brazilian, or were you trying to get out any information about the United States and its relationship with Brazil?
Fisher's Role in US War Effort
Pictures for Publication in US to Acquaint
US With Latin America
And Have US Stories Played Back to Latin America
FISHER: My job was strictly a one-way job. I was photographing and writing stories to send back to the United States to acquaint the Americans with Latin America. Because at that time, the war wasn't going too well, and our fallback position was Latin America. We were doing a lot of things in Latin America to help the Latin Americans, such as helping them build a steel plant out of Rio, bringing in equipment for them to manufacture airplane motors, heavy equipment, tractors, and so forth, raising the level of food production, and trying to raise the health standards. We were doing this all throughout Latin America, and one of the things I was to do was to photograph this effort, write stories and send them back. The Agency would then distribute them through the wire services, so they were getting a great play. But this really was a fallback position for us. In the event that we did get driven out of the States, we would fall back to Latin America. [Editor's underscoring. It is not thought that the American public ever knew of this possible fallback consideration.] So there was some strategic importance to what I was doing, but it was all the other way. In other words, I wasn't disseminating any information about the United States in Latin America.
I was also covering stories for the two slick magazines that the coordinating office put out in Latin America, EM/GUARDA, which is in Brazil and Portuguese, and EM/GUARDA, which was in Spanish for the rest of Latin America. That was really much like the forerunner of Life magazine, the same format, big slick color, a very, very good-looking publication, and a very popular magazine in Latin America. So that carried stories of the American war efforts and battles and American military activity.
Q: Did you write any of those stories?
FISHER: No. No, my pictures were used for that. They were in-house stories out of Washington, but there many of my pictures used for that.
Then when I went back, I went back to Washington, and there was a hiatus. I thought I would like to get into the military, because I had been offered a commission as a captain before I left for Latin America. Those positions were no longer available.

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Knickerbocker Village at the 2010 Conference on New York State History, June 4

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June 1974

PS 177: June, 1959, Nancy with Mrs. Jonas

About Knickerbocker Village

I found that a recurring topic on my blog, Pseudo Intellectualism, would be my memories of the wonderful place I grew up in on the Lower East Side, Knickerbocker Village. I lived there from 1952-1964. There has also been an avalanche of new information coming in from my old friends through our group emails. All of this has refreshed our collective minds and I decided to shift my old posts (from the last two years) to this dedicated site as well as add new recollections. Hopefully other lost KVer's can arrive here and feel free to share as well. Note 1: Many posts are an outgrowth of history projects I did with kids while teaching on the LES. Note 2: As this blog has evolved it has also become a view of life in NYC during the 50's and 60's.You can contact me atdavidbellel.mac.com.

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Deep Thoughts

#1. Annie Dillard talks about her fascination with science and minerals in particular. Then she goes on to details anecdotes concerning various Americans who became obsessed with the possibility of discovering valuable or interesting mineral deposits or rock formations within or close to their home environments. She speaks about men - almost all these scientific minded people are male - who discover veins of coal, copper, bauxite, and so on. She depicts the ordinariness of their fascination and the fact that it tapped into the extraordinary. Like nature had these incredible finds waiting to be unearthed all around. People who could see the worth of what was all around them or, in some cases, beneath them, excavated and found, just beneath the surface of their obsessive preoccupations, depths of riches and fascination. So in exploring the history of KV we go back into what had been the ordinary and find it layered in a criss-cross of historical significance. A transmutation of the lung block, redeemed as a bold social experiment tinged with ambitions as immodest as a revolution and as commonplace as sandwiches - ordinary though it may be but still - the most delicious sandwiches of the twentieth century. Buried beneath the surface of the KV heritage are connections to so may aspects of our culture and NYC's greatness as to be not only unfathomable but irrefutable. Do you know what I'm saying here?

Son Of Salvatore

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KV Honorary Members (And Their Corresponding Sponsors)

Tim Russert-Mark

George Carlin-Allan

Paul Newman-David

Pete Seeger-Bob

John F. Kennedy Jr.-Joe

To be is to do - PlatoTo do is to be - SocratesDo be do be do - Frank Sinatra

"Speak, KV Memory" by Vladimir Babokov and Guests

Yes. I was thrown out of the Canal theater a number of Saturdays for rolling on the floor, in the aisles laughing. I think one of the movies that prompted my gaiety was "Psycho" - the shower scene. What can I tell you? I guess I wasn't tuned into the mood. At the time. Also saw many rock and roll movies at the Canal, Elvis films and the Murray the K fests. Saturday I often would go there with Joey Maldonado and his cousins. We would load up on candy by the quarter pound from that obscure bakery that was just around the corner on Madison Street, quarter block from Catherine - around the corner from the Brokowsky's fruit store, Gogol's and the pharmacy on the corner. Next to the newstand. Remember? By the bus stop. See what I'm saying? (In your mind, can you see it?) Bakery had golden and tan tile design but couldn't hold a candle to Savoia. No marble floors either.

guest memorist Howie:the first movie I ever went to was at the Tribune Theatre (near City Hall, now by the site of Pace University), a Disney cartoon 'Lady and the Tramp', also remember going there with Ronnie, David and maybe Paul, think it was '62 to see 'Safe at Home' starring Mickey Mantle and Roger Maris....I saw 'The Time Machine" with David at the Canal theatre in 1960 (academy award to George Pal - special effects), we were so taken by the notion of time travel that we proceeded to go home and build a time machine...somehow we got hold of some wood, nails, rope and wheels..after a couple of days the time machine started to take shape although it looked remarkably like a pretty decent scooter so we decided it needed a safe haven and hid it in a pit on Monroe St...one that we were able to climb...on the third day the time machine was stolen from the pit...we never saw it again...probably in the year 3000 by now..

guest memorist Neal Hellman on BLT's (the non Ref Luncheonette variety)A great B.L.T. is a complex eatable symphony. One in which all the parts maintain their individuality, yet at the same time, surrender their tasty nuances in the true spirit of gastronomic gestalt and dwell as one.This equinox I choose Sumano's Bakery Ciabatta bread. Though I was skeptical about it's naked, pale texture, I felt it would toast up well and its many crevices would add some fun places for the mayo to go.With the mayonnaise choice I have to stay with tradition and of course go with Hellmann's though for some reason it's known west of the Mississippi as “best foods”. Please do not waste my time with this hippie safflower oil concoction or some other type of healthy alternative. For when it comes to mayonnaise for my Ultimate B.L.T. there is no east or west, there is only Hellmann's…. case closed.My ingredients are now all together, but the intense work has just begun. For now without the correct timing and the correct application of all the ingredients, my ritual could easily plummet into a spiritual abyss. All ingredients must sit together (as one) at room temperature as I invoke the spirit of all the great B.L.T. makers in all the luncheonettes in the greater metropolitan area of New York. I heat my cast iron skillet (using a Teflon pan would be heresy) to a comfortable medium heat. I lay the bacon down 4 strips per sandwich and as I do the strips greet the metal with a friendly sizzle “hello”. As they are slowly cooking I cut the tomato's, neither too thin or too thick and lay them down ever so gently on a plate to await their glorious marriage. The lettuce has been carefully washed and spun with all traces of ribs removed. The mayonnaise jar is open and waiting to join this eatable canvass.Once the bacon is turned the toast swings into action. It has to be brown all the way but with no traces of crusty darkness.As the toast is finishing I remove the bacon and pat it down with a paper towel. Now it's time to assemble my edible equinox creation. Mayo on both pieces of toast, then the tomato's and I prefer the lettuce between the tomato and the bacon, for I feel it's texturally more secure that way. I don't want an immediate confluence of tomato and bacon; I like the lettuce to work as a buffer. Here's where many folks really go askew: they push the bread down so hard that the bacon is crushed. No, no a thousand times no. One must gently, ever so gently caress the concoction together. After which one will take a sharp knife and make a diagonal cut. A straight cut is what people from small towns in Nebraska and Ohio do. Those of use who are members of the B.L.T. illuminati always make a diagonal cut. The masterpiece will then be placed on a plate and then consumed in a way as to enjoy the warm and crunchy (yet still pliable) bacon, the exploding sensation of a dry farm Molino tomato, the juicy lettuce, the condiment-ing mayonnaise and ever so supportive bread. My first Ultimate B.L.T. goes to my neighbor for her birthday. With that offering I realize now that I am truly invoking the Japanese Equinox celebration of Hign-e. Yes with my ultimate B.L.T. offering I am illustrating the six perfections: perseverance, effort, meditation, wisdom, observance of precepts, and giving.

KV Journeyman

11/13/07: Even standing in the cold rain, the Baroque facades on these buildings are fantastic. Brussels has some of the best architecture in the world, all types, all styles. Standing in the middle of the main town square one is overwhelmed with the magnitude of detail and size.

11/14/07: I am currently in Brugge in NW Belgium. It appears to be a quiet town with all old and small buildings, perhaps pre-Victorian, with a network of canals similar, but without the gondolas and singing rip-off-the-tourist gondoleers. I'll learn more tomorrow as we get a tour prior to dinner.

12/5/07: Just finished a fresh grilled tilapia sandwich while sitting outside looking at the expansive white sands of Clearwater Beach and the far reaches of the Gulf of Mexico, realizing I am flying back to DC tomorrow morning into the remnants of the latest Alberta Clipper to wreak havoc on the Nation's Capitol. Enough to upset the strongest and staunchest among us.

Time Magazine: 10/15/1934

Smack in the middle of the slum-mulligan of Manhattan's lower East Side two barefaced, rectangular apartments rear their bricks twelve stories into the air. Jointly christened Knickerbocker Village, they cover four whole city blocks. Between the two units is a concrete playground, and within each will be a garden. Each of the 1,593 apartments has wooden parquet floors, electric refrigeration, tiled bathrooms, outside windows. The elevators are self-operating. Rentals range from $22.50 for 2½ rooms on the ground floor to $87.50 for a 5½-room penthouse. Average is $12.50 a room. Knickerbocker Village will cost about $9,000,000, and with the exception of Rockefeller Center is the only large structure which Manhattanites have noticed abuilding these last two years. Last week it was ready for occupancy.

Because Knickerbocker Village is also Manhattan's first experiment in government-financed, low-cost housing, RFC's Chairman Jesse H. Jones, East-Sider Alfred E. Smith, many a minor wig gathered in its banner-decked playground to mark the day. Said Al Smith: "I was tempted to swap the Empire State Building." Chairman Jones thumped the tub of slum clearance. Informed that the first of the two units was already 95% rented, while the second unit (to be opened Dec. 1) was 50% rented, he waved an expansive hand at the holiday bunting, declared: "I know of no ... safer investment for public funds than to clear about 500 acres of your slums."*

Whether or not Knickerbocker Village was a fitting inspiration for such official rejoicing was last week a red hot sociological question.

In 1929 Realtor Fred Fillmore French began buying land on the lower East Side. By swearing his 42 brokers to secrecy and using dummy corporations, he managed to get some 15 acres for $5,000,000. Then in 1931 he announced a grandiose scheme for the erection of a $50,000,000 development for junior Wall Street executives. At this point he found that he could not get credit. At the same time Fred F. French Operators, Inc. began passing its dividends on $14,000,000 of preferred stock. The project remained only a scheme with a staggering upkeep in land taxes.

When Congress authorized the RFC to make loans on slum clearance projects, Realtor French picked out the worst block in his holdings and ecstatically presented it to Mr. Jones as a worthy subject for clearance. His choice was "Lung Block," so called because of its high tuberculosis mortality rate. On it lived 650 families. In its backyards were seven jakes. On this fester Mr. French proposed to build a low-cost housing project. Mr. Jones agreed to do business, and RFC lent 85% of the required $9,000.000.

Average cost of "Lung Block" to Knickerbocker Village was high: $3,116,000, or $14 per square foot. The tax assessment was therefore reduced by two-thirds to bring the monthly room rental down to the $12.50 stipulated by the RFC. Because the average rental on "Lung Block" had been about $5 a room, Knickerbocker Village remained a low-cost housing project only in the minds of the white collar workers, who proceeded to fill it.